Case files closed on the Kiss & Fly cone saga (sort of.) I finally decided to have a serious chat with the bathroom attendant and almost tripped into the sink when she revealed that she ASKED someone to put a cone / cone(s) on the toilet.

“The toilet is not broken,” she emphasized in our chaotic interview. “The door is broken. You can’t close that door.” She pointed to the wooden panel that would seal off that bathroom, currently open and held in place by a trash can.

As per usual, it was too loud and sweaty with too many girls retouching make-up to prolong such an absurd conversation in an attempt to clarify. The gist of her rationale seemed to be that women had been trying to use that bathroom, but couldn’t close or lock the door. My questions:

a) Since when is privacy valued in a club setting? A place where girls share stalls and friends guard friends’ bathroom doors anyway?

b) Why can’t they get the door fixed? Geez. That would be even easier and less gross than repairing a toilet.

A new mystery revolves around this crazy vodka called Snow Queen. Can someone enlighten me about this beverage? In the dark, cradled in a bucket of ice, it looks suspiciously like Grey Goose. I guessed Snow Queen was some generic vodka Kiss & Fly economically chose to pawn off on promoter tables. It tastes frighteningly like nothing (allowing for unconscious mass-consumption) and gave me the worst hangover of my life. So I did some research and found that Snow Queen vodka’s the new quality product from Kazakhstan. According to their website and wiki, it’s also won some awards.

Side question: Who bestows liquor awards? I’m assuming a panel of judges who get to drink all day? That’s a great job.

So now I don’t know if Snow Queen vodka is super classy or super trashy. Is it the new Grey Goose or is it distilled from the tears and old bathwater of Kazakhstani senior citizens? Anyone who’s a liquor expert, fill us all in.

On a separate yet related Kiss & Fly note, this Go-Go girls’ outfit isn’t really working for me. I think the Kiss & Fly dancers had a much better things going for them when the feathers were on their chest instead of their rump.

Ever notice that almost every trendy nightclub you set foot in throughout New York City has one, if not many, drummers pounding away, pumping up the crowd? I’ve started to take these party extras for granted, but the reality is that drummers in commercial clubs is a nightlife phenomenon that went from nonexistent to noteworthy just in the past few years. Clubbers accepted it, thrilled in it, and quickly welcomed these musicians at their dance floors and tables. Since then, no one’s stopped dancing long enough to analyze what this trend is all about! So I left my party shoes behind and sat down with Stu, one of New York’s most elite nightclub drummers, to pick his brain on the topic. Not only did I get a unique insider perspective on New York nightlife, I got a crash course in music as well!

Enjoy!

When did drummers in nightclubs become hot?

I’d say five or six years ago. I’ve been doing this for six years now, but it was already a kind of a thing when I started doing it. Now you see more and more of it all the time.

Is there a country that started it?

I don’t really know. I just figure everything comes from London (laughs) but I could be wrong.

Is there a particular club in New York that launched the trend?

Yes. I think the old Pangaea.

Oh! I used to go to Pangaea in London.

There you go.

And what kind of music are club drummers associated with?

Mostly house. That’s the most live drum friendly music.

Now I say I like house music, but I know house music is actually extremely complex with all these different subcategories. Can you explain some of the different kinds?

You’ve got the earthy house, I don’t know what the exact name for it is really, but you’ve got real sampled instruments, piano, singing thrown in there. It’s not so electronic and techno sounding. And that’s more drum friendly. Then you have the techno thing which is sharper, and it’s harder to get in there with a big sound and a live instrument. There’s also hip hop. I love playing drums over hip hop, but that’s harder to do because there’s so much space and you don’t want to just bash away. You want to blend in and pick your spots, but it’s so slow you’ve gotta really know what you’re doing.

What does a drummer bring to a party?

Energy. It’s a live musician. And drums are an exciting instrument to watch someone play. It’s a creative expression, and sometimes you don’t get that from the music itself unless you’ve got a really great DJ who can mix something really well.

What are the different kinds of nightlife drummers? I know there are the guys running around playing the bongos, but you were one of the first drummers I saw still with a complete set up and symbols and everything.

Yeah, well there aren’t many of us. (laughs) There are the guys who play the African djembe drum and they walk around with just that one drum. And I like that. That’s awesome. But I’ve been a drum set player all my life. So I have more cymbals and bongos, more Latin percussion instead of African. I’m more Latin, Afro-Cuban I guess you could say.

So would you say the trend started with the djembe guys?

Yeah. Although way back I saw more drummers with a rig than now.

Were you one of the first in New York clubs?

I’m not sure. Definitely one of the first ten. (laughs)

Now it seems clubs like having a sax and guitar player too. What’s this all about?

I think it’s because back in the old times clubs had shows, musicians and performances. Look at “I Love Lucy.” And then it got narrower and narrower to where you’re just packing people in with a DJ. I think now we’re back to maybe wanting more performance oriented things. And I think drumming is probably the easiest way to get in there, then sax and guitar. I’ve played with an electric violin player too, which was great.

And how do all of you collaborate? Do you talk before hand? Do you all rehearse?

(Laughs) No, No. There’s never any rehearsal. It depends on the musician. If you get someone who just wants to wail on his drum or guitar and not listen to anybody else, then you’re not going to do much collaborating. But I like to listen to what they’re doing and give them play. If you’re with other good musicians, you’ll understand what one another is doing.

So how do you know when to bang on the drums and how do you know when to stop?

Instinct. It’s all about what the music sounds like. Where can I fit something in? Does it need anything? Should I play on the beat? Play around the beat?

That’s improv, right? Technically, you’re improving the entire night.

Yeah. The entire night. I’ve played some songs so many times that I’ve developed some sort of routine, but it was never on purpose. I like to think of it as a wave. The DJ’s sort of the band. He’ll come up and get louder and louder and cut out. There’ll be that airy sound before he gets faster and faster to where the pounding beat comes back in. And I like to go underneath him with my volume like a wave, and when the music hits its peak, I like to crash over the top, playing louder and then backing down again.

Can a drummer make a party worse?

Yeah. If you’re not a good musician. If you play out of time. It just sounds like a mess. (laughs) Hopefully, that’s not me.

Tell me about how you started as a musician and how you started working in clubs.

I started piano when I was six, drums when I was eight. I’ve been playing drums all my life. I went to music school. I played in bands forever. Ten thousand bands. Then I was working at a stereo store. A promoter shopped there and he always asked me to come to his parties. I’d never been to a club in my life. He’d always invite me and I’d never go. I didn’t think I belonged in a club. I’m more of a rock, dive, CBGBs type of guy. I also always had paying gigs on the night he had his parties. So finally he said, “Why don’t you come, bring your drums, and I’ll pay you.” And I said “Really?!?” But a gig’s a gig.

And what club was this?

Dorsia.

And what was that first experience like?

Awkward and weird. I’d never been to a club before. It was a whole new experience for me. So I started playing and just tried to think about not annoying people, blending into the music, and trying to do something cool by listening to what was there. And by the end of the night, after a few drinks and a few girls getting into it, I started to get more comfortable until I got more and more gigs, getting hired at other clubs. And here we are.

So how much of this nightlife stuff takes up your work now?

I was doing four nights a week at one point. While it doesn’t sound like a lot, you’re playing for four hours with very few breaks. You’re going all night. It was rough, but I loved it. And it paid more than the blues and R&B gigs I was getting.

And what are the pros and cons of working in nightlife like that?

Pros are that I was thrown into New York City nightlife without any of the waiting in line. It was a whole new experience and whole new set of people I met. It was overwhelming in a very cool way for awhile. I loved it. It was something new. It was glittery. It was shiny. The girls were pretty. (laughs)

Girls love the drummer, just tell me.

Yeah. (laughs) Girls love the drummer.

And any cons?

You can get sucked in to a black hole of partying all night. Playing till four, then the after party. Next thing you know you don’t see daylight anymore. You’re a vampire. And you start to lack balance.

So when you did that four nights a week thing, what was your schedule?

Cain. Wednesday, Thursday, Friday, Saturday.

What other clubs have you played at?

Groove Jet, Flo, Latin night at B Low, Dorsia, Room Service, PM, and some others that I forget.

Do you have a favorite? A least favorite?

I played at the Versace Mansion through Cain. I loved that. But I’d say Cain. Not just because I work there, but because of the atmosphere: the wood pillars and the South African vibe. I like the whole scene, the staff. The security guys there are the coolest.

They protect you from all the girls?

(Laughs) They don’t mind doing that.

Something you love about New York nightlife:

I love the action. You can do any kind of style, any kind of vibe. You’ve got everything and people from all over the world.

Something you hate:

Yeah: Lindsay Lohan (laughs). Nah, people get snooty and uppity sometimes. I like open minded people.

Favorite place to chill in the city:

National Underground which is a new spot on Houston and Allen. It’s a bluesy, rockish, folk place. They have some really nice nooks and a brick cavernous thing down there. It looks like a mafia, speakeasy, Al Capone-type hang. And then I like Lit on 2^nd avenue near 6^th street. The downstairs, not the upstairs.

So that’s where we’ll find you on your nights off. Favorite drink?

Uh. Beer. (laughs)

What’s your inspiration drink while drumming?

Vodka cranberry. But that’s not because it’s my favorite. It’s just what gets handed to me all the time.

Craziest drumming nightlife experience?

I was playing at PM where they’d made a little stage which was three feet wide. They’d attached it to a runway which was attached to a wall. A wall of white cinderblock – so I had to climb it. I’d climb the wall and jump down in time with the music when the DJ would peak.

To hit the drums?

Yeah. Onto the stage from the wall. I wouldn’t climb very high but one night it was the owner’s birthday and I had a bit too much champagne before I started playing. I started climbing all the way up to the next floor and jumping down. I climbed too high and I didn’t make it on the way down.

So you’re hitting the drum with your whole falling body force?

Yeah. Oh yeah. I’d land on the stage while I’m playing. At the same time. But I didn’t make it this once. One leg hit the stage, the other didn’t, and I just fell off the side. I fell hard. And everyone watched me. (laughs)

Future plans?

My band’s The Matters of Circumstance (check out and listen here!). It’s acoustic / electric rock, kinda poppy, but it’s deep stuff as far as lyrically and musically. We have a base player and two guitar playing singers from Barbados. We’re going down there to make a record and then hopefully do some touring. And keep playing in nightclubs!

When I lived in Milan I knew Ania J. as that sassy, over-the-top diva in my group of girlfriends who was always harassing us to come hang out with her at Milan’s underground club Gasoline. Six years later, this Canadian vocalist has achieved Italian fame and is hard to miss in the European club culture. She’s in your face no matter what musical genre, vocalizing over beats aside top international DJs, as Masters at Work, Joe T Vanelli, Kenny Carpenter, Supernova and more.

In March 2005, Ania J. traveled to Miami for the Winter Music Conference together with producer Giacomo Godi from SUPERNOVA, representing their first single “Rock U,” which hit the top ten charts in the house genre in Europe and New York. Ania J.’s performed at various fashion ceremonies including Dolce & Gabbana, where she shared the stage with Grace Jones, and perhaps most well-known for her regular performances at Milan’s most exclusive nightclub, Chandelier Motel - the dinner theater New York’s The Box is modeled after.

Since America’s a bit behind on the vocalist bandwagon and many clubbers, myself included, don’t fully understand what a vocalist is, I sat down with this “rock star angel” to learn about nightlife through her eyes.

Can you explain what a club vocalist is?

It’s someone who wakes up the crowd and gets them involved with the music. Someone who knows how to intervene with the music, yet not over do it!

How and where did this tradition begin? When did it become popular in nightlife and why?

I used to go to raves in Canada when I was really little and saw people performing vocals at raves. So I think it’s a rave tradition. In the commercial base really started in Italy. It became really popular in Italy and that’s where I was at the time.

Why is it a bigger phenomenon in Europe than America?

I don’t know. See in America you don’t really have vocalists. A vocalist in America is a singer. I think it’s different in Europe because people really like it when you give them attention. Like people really like to hear their name called out if they’re celebrating a special occasion. The crowd likes it when you make them feel good about themselves. People like to stand out in clubs in Europe. They like to be part of the scene, part of the party. So if you involve them with the vocalist and the DJ, they feel like they’re part of the party themselves, not just going out to the club and dancing with three friends. They become one with the entire experience.

You’re originally from Canada. How did your career in music begin and how did you end up in Italy?

I was modelling before I started doing what I’m doing now - before I became a singer / vocalist. I was modelling in Europe (Paris, London, Austria, Greece) and I met this agent who brought me to Milan. And that’s where it all began. I was modelling and going out to clubs a lot. I was going out in Milan more than anywhere else. One of those nights, I drank a little bit more. I saw the mike and I grabbed it. (laughs) It’s the champagne, Dom Perignon. That’s how it all happened.

Had you ever sung before then?

No. As a child, I played the piano by ear. At age seven, I kept asking my dad for a piano. He’d ask me, “Why?” And I’d say, “Because I know I can play!”

But you didn’t have any formal voice training?

Never. No. I was always shy. I was always admiring singers. When I was ten, I remember someone asked me if I had one wish, what would you ask for? And I said I would love to sing in front of an audience of ten thousand people and feel that energy. Whenever they advertised things for kids, toys or whatever that had to do with music, I remember I always wanted them. But I never knew I could sing. I was just always attracted to music.

So after you grabbed the mike that one time, how were you able to make a name for yourself in Milan? How did you start working in nightlife?

It happened on its own. I was lost. I was a model. I didn’t want to go back home without achieving something more or discovering a new dream and knowing what to do with it. I was always very goal oriented as a kid, and I always wanted a dream: The one thing that I could call mine, focus and go for. After I grabbed the mike that one time, a friend of mine came in from Canada and had me do it again as a dare. And we were at a huge party, a fashion party for Andrew Mackenzie, in Milan.

So I went to the DJ and I lied. I told him that I knew Andrew Mackenzie and that he wanted me to take the mike. So I took the mike and started doing some vocals. I didn’t even know what I was doing. I had no clue. Then this guy Filippo Rossi, from Gasoline Club [Milan] came up to me and started asking me what I did and took my number. I wasn’t even sure if I was going to stay in Milan that summer or if I was going home. I didn’t know what I was doing. I was lost. And Filippo really took me under his wing. Gasoline was my school. Filippo believed in me. Anyone else would’ve said, “Get out of here!” cause I think I sucked in the beginning! (laughs)

Then from there people come to the club, see you, and ask you to come to their club. It’s like a chain. A domino effect. And somebody came who worked at Chandelier Motel (Milan) and asked me if I wanted to work there. I said yes and that was six years ago. And at the time I was working as a vocalist at another night in Milan called New York Bar, and I couldn’t really work both of them because they’re hot clubs in the same city – they where in competition. So I decide to try and offer to Chandelier that I would sing. I felt ready to just sing, and at New York Bar I’d just do vocalist so I could work them both. And it just so happened that they both agreed! So I did both of them one night, for one year. I was opening New York Bar, taking a cab, going to Chandelier, singing there, getting in a cab, going to New York Bar, closing the night there and then going back to Chandelier. No one’s ever done that. That was a first in the history of Vocalist!

How do you book jobs?

I have an agent / manager but I also do it myself when it comes to clients I have worked with for over the past six years. You build up a clientele through word of mouth.

Can a person make a career out of working in nightlife?

In Milan, yeah. In Italy, yes. There are vocalist that are forty-something, and they’ve been doing this for twenty years.

What are the pros and cons?

Well, you’re around a lot of alcohol and drugs. That’s the difficult part about working at night. If you’re doing three gigs a week and if you start drinking, you just kind of keep drinking and that gets tiring after awhile. Sometimes you just want to stay in and watch a film like everyone else and you can’t cause you’re working. You also don’t see your friends that much because you’re working on weekends and holidays when everyone gets together. So you’re pretty much always alone. Then if you’re travelling all the time - it’s like any artist - you’re alone all the time.

Tell me about the persona you project when you sing. I know you love wearing wigs and have an over-the-top personal style. Where did this come from?

Honestly, I didn’t really think of it before. I wanted something special. I wanted something my own. I was always really creative. I’d change my clothes from what everybody else was wearing, I’d have the same shirt as someone else, but I’d have to cut it or do something to it to make it different. I used to shop second hand a lot. I’m always looking for something different. Something that when I see it, I know it has my name on it. I really have to like the piece. I like punk-ish, yet elegant and clean. I like bright colors, but I also like black and white. I’m constantly changing. You never know with me. Like with the wigs. I used to wear wigs just going out. You don’t have to style you hair and you get into this other character. You make this big impact. You feel big with a wig! I love big hair. My hair is so thin, and there’s so little you can do with my hair. If I had a huge afro, I’d just leave it like that.

Where’s your favorite place to perform?

Chandelier Motel. Antonio Coppola makes up great choreographies and he always makes me look outstanding on stage surrounding me with dancers acrobats special effects…a little club stage becomes a circus and I love it!!!!

Do clubs need vocalists? Why? What do you bring to a party?

It depends on the club. If it’s really deep house and people just want to go and be in their own little world and dance, than I don’t think they need a vocalist. Sometimes a vocalist can help involve the crowd in the party - and give them something extra. You vocalise and reach out with your voice and energy to them and you’re giving them something. Not just saying, ‘Put your hands up!’ and if you’re singing, you’re really giving them something.

What’s your favorite kind of music?

I don’t have a favorite kind of music. I love music. I love classical music. I love hip hop. I love rock. I love punk, rockabilly, Mozart, house, club, electro. If the song has a good beat, good lyrics and a good melody it could be anything. It could be a country song. I like Garth Brooks. I love Bob Dylan. It’s the song in itself. And I’m such a chameleon with everything, with fashion and music, that I could never just stick to one style.

Can you tell us some of your favorite artists or DJs?

A lot of DJs from New York are not used to working with vocalists. More of the bigger European DJs are okay with it, like David Guetta, Dimitri from Paris, although he was a little skeptical about having a vocalist at first. Other good DJs and club scene artists: Supernova (Italy), Pete Tong, Bruno Bolla (Italy), Princess Superstar, Deep Dish, Joe T Vanelli, Moloko, Peaches (She’s Canadian!)

What’s a vocalist’s relationship with the DJ? Do you two have to be perfectly synergized? Are there ever feuds?

A good vocalist doesn’t work well because of the DJ, they work well because of the music. You have to have the rhythm in your heart and you have to listen. You have to know when he’s mixing. And when he’s mixing, you shut up. When he’s playing and there’s a singing song, you don’t sing on top. That’s where a lot of vocalists go wrong. They sing on top and they ruin the song. You listen to the music and you stay out of the DJs way. You do your own thing. You weave yourself in with the music and the rhythm.

How do you know when to sing and when to shut up?

I feel it. It’s instinct. And I try not to overdo it. I said I try!!!! (laughs)

Do you have every house song in the world memorized?

Are you crazy? I don’t even know the names of the songs. I’ve been working with house music for the past six or seven years. I’ve heard some songs a thousand times and I don’t know the words. When I work I get lost. In my work, in the music, in the people. I’m not there for the DJ. You want to blend in with his music but stand out on your own.

Can a vocalist ever over do it and detract from the music, making a party worse?

Yeah, they can. If they’re screaming all the time. If they’re talking too much. I wouldn’t want to go to a party if I heard one of my favorite songs and someone started yelling over it ‘Put your hands up!’ and screaming at the top of their lungs all the time. Say what you need to say, make it short, make it sweet, and shut up!

Do you sing words? How do you know what to say?

Yeah! I sing words. Or I sing vocals. Skats. I wrote poetry as a child and I love rhyming words and it just comes to me. I pick at things. Like I’ll see a couple fighting in the audience and I’ll hear a beat and I sing -

He loves me

He loves me not

He loves me

He loves me not

Because you get it from them. They feed it to me.

Have you ever been booed off stage or sang for crowd that just wasn’t feeling it?

No, but I was really paranoid at the beginning. If people were looking toward me and laughing I’d always think they were laughing at me. But I think every artist goes through that.

How do you energize a crowd?

I just get in front of the crowd usually in front of or aside the DJ. I grab the mike and begin by announcing the DJ, myself and the party. This usually gets everyone going (it all depends on how you say it). I wait for the pause in the music, this way they can hear me more. I rehearse what I’m about to say in my mind by memorizing names…dates…the event the city I’m in… Sometimes I’ll ask the DJ how long the pause is before the beat kicks in, this way as I’m going up with my voice the music will kick in at the right time of my intro.

What was your best clubbing experience ever?

I used to love going to raves when I was younger. Because of the music. I loved jungle. And I loved dancing. I was in the best shape of my life back then.

Favorite club to go to?

I don’t really like crowded clubs. I like smaller clubs. Only when I’m working do I like big clubs because I like being on stage. I like Gasoline Club Milan because it’s so underground. It’s so tiny and it has its own character. And they change every year. They paint. So one year it’ll be a Barbie theme and everything is pink and gold and then they’ll have a war theme with messages about peace and love written on the wall - its’ like walking into a comic book.

Tell me something you love about New York nightlife.

It all depends on the club you go to…in New York where I was performing at the Mansion, people where going insane dancing and jumping up and down I loved it…but I notice that people in New York prefer more intimate clubs…like The Box, GoldBar… where they can hang with a close group of friends.

Favorite Song?

“Blowing in the Wind” by Bob Dylan

Favorite drink?

Green tea because it’s detoxifying.

Favorite cities to perform?

Milan, New York, Switzerland

Future plans?

I have been working with dual DJ’s producers Supernova (Giacomo Godi, Emilliano Nencioni) in Milan, Italy for the past four years. We have come out with s few singles on the house charts in Europe and U.S. as well as our first album last year Supernova (Downtown Underground), where four of the songs on the album where co-written with me. Two of the songs came out as singles. Silence is the Enemy, & Dude. You can hear the songs and see the videos on www.myspace.com/anotherblondeakaaniaj

I am also working on my own album coming out soon, “Sex, Detox and Rock ‘n Roll.” So keep in touch New York!